Deliberately paced, provocative stories that play on the many faces of fear and trembling.
Turkish American writer Orhan delivers somber, sometimes surrealistic portraits of life in Turkey in this debut story collection.
A slender sanitation worker is sent into an alley that her heftier male counterparts can’t negotiate. There she finds evidence of one draconian government decree after another: discarded books, sheet music, a violin and cello, because “the city’s orchestras and philharmonics had been ordered to compose and perform with uniquely Turkish instruments.” Soon it’s living musicians who are being scrapped, and rescuing them comes at the price of a harsh sentence in a prison where no one—guards, inmates, bureaucrats—is free. Freedom is always a desideratum, especially under the most strangely oppressive conditions, as when a Turkish army unit is dispatched to the Kurdish borderlands with orders to kill all the mules. “We’re not in Syria, at least,” says their sergeant, but they most certainly are in a place where a soldier from one ethnic group is always ready to kill a soldier from another, even if they fight under the same flag. Mules, villagers, soldiers alike suffer; says the narrator, “The mules are looking at us, saying: Don’t kill us, don’t shoot us. And we are saying back: Don’t move so much, just die easy, OK?” When people aren’t dying of bullets and fire, they’re dying of spiritual suffocation, and sometimes literal suffocation as well, as when Orhan has the real-world dictator Erdoğan descend on a village suffering a mining disaster to dispense pabulum: “He tells us that mining accidents are typical, they are to be expected.” Orhan’s incisive and often improbable stories are more than parables, though there’s plenty of allusion and allegory tucked into the prose; they’d surely earn him jail time at home. But, one elegiac story tells us, being in relative freedom in exile (in, of all places, Kansas) takes a toll as well, with one’s native language “having become functionless through the course of evolution.”
Deliberately paced, provocative stories that play on the many faces of fear and trembling.Pub Date: April 25, 2023
ISBN: 9780593449462
Page Count: 240
Publisher: Random House
Review Posted Online: Jan. 24, 2023
Kirkus Reviews Issue: Feb. 15, 2023
This propulsive thriller twists into the dark and bloody underbelly of the world of fine art.
The discovery that a revered artist’s sculpture contains a human bone sets off scandal and violence.
Art historian James Becker has what seems like a sweet deal. He’s the curator of the collection of the Fairburn Foundation, housed at a stately home owned by the Lennox family: Sebastian, Becker’s best friend, and his bitter mother, Lady Emmeline. Becker’s wife, Helena, was Sebastian’s fiancee first, but they’re all very civilized about it and happily awaiting the birth of her baby. The centerpiece of the Fairburn collection is works by the late Vanessa Chapman, an artist about whom Becker wrote his thesis, and with whom he is somewhat obsessed. Partly, it’s because of her great talent, but she was also a glamorous figure, a beauty who, as she became successful, sequestered herself on an isolated Scottish tidal island called Eris. She had a dark side—lots of stormy relationships, plus a philandering mooch of a husband who vanished without a trace a few decades ago. Her reputation, though, has risen after her death—so much so that the Fairburn has loaned some of her works to the Tate Modern. That’s where a forensic anthropologist sees one of her sculptures, made of found objects that include what’s described as an animal bone. The scientist is sure the bone is human, and soon Becker finds himself scrambling to prevent scandal. Vanessa willed her works and papers to the foundation, but some of them are still on Eris, guarded by her longtime friend Grace Haswell. A retired doctor, Grace lived with Vanessa off and on over the years and nursed her through her fatal cancer. It was a surprise when Vanessa left her estate not to Grace but to Douglas Lennox, Emmeline’s husband and Sebastian’s father. Douglas was Vanessa’s gallerist and lover, but the two had a nasty falling-out. Sebastian is so frustrated by Grace’s refusal to turn over all of the bequest that he’s ready to sue her, but Becker believes he can negotiate, so off to the the island he goes. He finds far more treachery and shocking secrets than he expected, past and present alike. Hawkins keeps her cast tight, her wild setting ominous, and her plot moving fast.
This propulsive thriller twists into the dark and bloody underbelly of the world of fine art.Pub Date: Oct. 29, 2024
ISBN: 9780063396524
Page Count: 320
Publisher: Mariner Books
Review Posted Online: Sept. 14, 2024
Kirkus Reviews Issue: Oct. 15, 2024
SEEN & HEARD
SEEN & HEARD
Though not perfect, a clear leap forward for Rooney; her grandmaster status remains intact.
Two brothers—one a lawyer, one a chess prodigy—work through the death of their father, their complicated romantic lives, and their even more tangled relationship with each other.
Ten years separate the Koubek brothers. In his early 30s, Peter has turned his past as a university debating champ into a career as a progressive lawyer in Dublin. Ivan is just out of college, struggling to make ends meet through freelance data analysis and reckoning with his recent free fall in the world chess rankings. When their father dies of cancer, the cracks in the brothers’ relationship widen. “Complete oddball” Ivan falls in love with an older woman, an arts center employee, which freaks Peter out. Peter juggles two women at once: free-spirited college student Naomi and his ex-girlfriend Sylvia, whose life has changed drastically since a car accident left her in chronic pain. Emotional chaos abounds. Rooney has struck a satisfying blend of the things she’s best at—sensitively rendered characters, intimacies, consideration of social and philosophical issues—with newer moves. Having the book’s protagonists navigating a familial rather than romantic relationship seems a natural next step for Rooney, with her astutely empathic perception, and the sections from Peter’s point of view show Rooney pushing her style into new territory with clipped, fragmented, almost impressionistic sentences. (Peter on Sylvia: “Must wonder what he’s really here for: repentance, maybe. Bless me for I have. Not like that, he wants to tell her. Why then. Terror of solitude.”) The risk: Peter comes across as a slightly blurry character, even to himself—he’s no match for the indelible Ivan—so readers may find these sections less propulsive at best or over-stylized at worst. Overall, though, the pages still fly; the characters remain reach-out-and-touch-them real.
Though not perfect, a clear leap forward for Rooney; her grandmaster status remains intact.Pub Date: Sept. 24, 2024
ISBN: 9780374602635
Page Count: 464
Publisher: Farrar, Straus and Giroux
Review Posted Online: July 4, 2024
Kirkus Reviews Issue: Aug. 1, 2024
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BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
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